#which I 100% understand

[heloflor]

Underrated thing in 303 : the way Sam and Max keep talking about Skun-ka’pe and Papierwaite joining forces as if the two were a couple.

I especially love the implications behind Sam and Max seeing a duo working together and immediately assuming they’re a couple. I feel like this says a lot about what Sam and Max think of their own relationship.

(Video footage from NapalmX717 ; timestamps with links for each quote under the cut)

“Maybe I can break up those lovebirds” (32:23)

“One more “unfortunate misunderstanding” should be enough to push Tom and Nicole here straight into Super-Villain Divorce Court” (1:13:36)

“Sam better come get me before these two losers knock over my jar, or worse, kiss and make up !” (1:21:23)

“Papierwaite broke your heart when he broke the Alliance, didn’t he ?” (2:46:45 ; there’s another similar dialogue right before it (2:46:17) and both are very funny)

“Who knew Skunkape was so sensitive about getting dumped by Papierwaite ?” (2:48:36 ; start at 2:48:22 if you wanna see Sam beat the shit out of Skun-ka’pe)

[lonepower]

yes i Am paying real money to make you all look at our new dog. we've had her for 3 hours and if anything happened to her I'd kill everyone in this room and then myself. her name is Tater Tot

[poorly-drawn-mdzs]

Kiss Kiss Fallen Tree!

[First] Prev <–-> Next

[fuckmeyer]

the choice between Edward & Jacob is not a question of which relationship is healthier or which partner is best suitable for Bella. neither is correct. neither is best. neither produces a happy ending for Bella. at the end of the day this is still a vampire novel. any choice Bella could make would yield, at best, a bittersweet happily ever after.

if she chooses Edward, she gets the terrifying Breaking Dawn ending: a girl who rejected her call to grow up has hung her love & her eternity on an emotionally stunted partner who hates himself marginally less than he loves her. she's a teen mom with a kid she never wanted who perpetuates the generational trauma passed down from her parents. by keeping this child, the Cullens have set the stage for an uprising/cold war against the Volturi who are likely to take revenge in order to maintain power. Bella is living in a tenuous "dream come true" wrapped in a nightmare & doesn't realize it.

choosing Jacob is the true coming-of-age ending that rips the stitches out of a wound that never fully healed. even if we ignore the fact that she ends up with a man who sexually assaulted her (we must bear in mind Jacob's character is influenced by smeyer's racism, but it did happen), they can't have a secure romantic relationship. based on the high imprinting rate of the pack, Jacob will likely find his imprint in his lifetime & will lose himself to the imprintee. he will no longer be her Jacob. he will inevitably abandon her (whether he wants to or not), & she must reconcile with the reality that she will always be inadequate to Jacob's imprint. & say he never manages to escape the vampires? he will presumably not age for a long time, meaning the relationship Bella always feared with Edward (her being an old grandmother while he stays forever young) remains a possibility. this is the story of a girl who slaps a Band Aid on an open wound & calls herself healed while flinching every time she sees the shadow of the knife that cut her.

if she chooses neither (team therapy), her healing requires her to lose or be at least partially disconnected from everyone she cares about. Bella must spend the rest of her life shut out from one world while never fully existing in her human world ever again. she must always keep secrets. she can never go back home. even in the unlikely event that she manages to escape the Volturi, the threat of being hunted by vampires will never leave her. in addition, she must face her worst fears (aging, losing Edward) while always keeping in mind the immortal life that could have been hers, if only.

even the "healthiest" option produces scars that will never quite heal.

Twilight is a horror. Twilight is a vampire novel. Twilight is gothic. Twilight is fiction. neither Edward nor Jacob is a "bad" choice because neither will give Bella her happily ever after. the choice between Edward & Jacob is simply a matter of which horror story you prefer to read.

[linusbenjamin]

Prometheus stole fire from the gods and gave it to man. For this he was chained to a rock and tortured for eternity. Oppenheimer (2023) dir. Christopher Nolan

[deoidesign]

when your main characters start dating after years of writing so they finally get to be like this

[iampikachuhearmeroar]

"nobody wants to work anymore" but a low paying casual retail job wants you to travel to a capital city you don't live in, which is a considerable distance and time travelled from you (when you actively have a branch of this shop in your LOCAL shopping centre, 15mins down the road); for a group interview assessment centre. they then make you CONGA LINE into the said group interview with party poppers and streamers. like ma'am. I don't care how "ironic hipster millennial and 90s nostalgia" and "life of the party" this brand is supposed to be. but I ain't conga lining into this interview like a fucking clown. fuck some hiring managers and HR depts, honestly.

[witchspeka]

When Ritsu grows up he'll exclusively wear trenchcoats and one day he'll be walking down the street and see Reigen and they'll be wearing the same coat and it'll be the worst day of his life

[wawataka]

as much as i LOVE the ending to mob psycho 100 (truly a beautiful way to wrap everything up) the one thing that bothers me most is shou’s character development

I think it’s specifically because of his lack of screen time and ONE trying to keep the manga 100 chapters long but he really shot himself in the foot with that. Mostly everyone was written well but I feel like he ran out of time to write everything he really wanted (remember that off handed remark about an esper awakening from Claws horrifying chambers? never brought up again). I feel like for the most part, every other character has a satisfying ending. It aligns with their goals. Serizawa finally feels like he is contributing good to society. Teru understands he isn’t special but hey, nobody is. Reigen isn’t alone anymore. Ritsu and Mob have come to accept Mob for who he is and have started the process of moving on from their trauma. Shou has… well he beat his father. but that wasn’t really him. That was Mob. He spent his whole life coming up with ways to get Toichiro to see some sense and in the end, it had to be someone else. Not him. Not his son. Do you think he ever moved on from that? Do you think he knows he has to? He can technically live his life “normally” now but can he? We can’t even know how he’s dealing with everything because he doesn’t show up in season three at all until like episode 11 (NOT counting the maid cafe scene although it was undeniably really funny). and the thing he takes away from his experience fighting Mob?

BROTHER THEY MADE A WHOLE SHOW ABOUT WHY YOU SHOULDN’T DO THAT. YOU’RE IN THAT SHOW. It almost feels like he’s going backwards??? Like I understand where he’s coming from, and for my own peace of mind i’ve been trying to think he meant it for like violence. but i cannot stop thinking of a Shou that quit using his powers entirely. i literally stopped typing this post and stared at the ceiling rn because of it. like i’m not crazy right?? i can’t be the only one who feels like something is missing about his character??? that CAN’T be what he walks away with

Also this might be a “and the curtains were blue” moment but i also want to talk about this omake

Yeah sure it’s devastating but then I actually started thinking about it. The title is called “Suzuki Shou 13 Years old.” Which is interesting to me because Shou was 12 almost the whole story. His birthday is in december (RIP). He turned 13 like just a month before the confession arc took place. The only thing i don’t know is if he has this dream before or after. I really hope it’s before because if he had this dream post confession arc then ouch???? ?? because if it’s after then that means he clearly hasn’t moved on from everything?? he’s still being haunted by his origin?? and we’re never gonna see him ever move on?? ONE i’m going to kill you and then kill you again make a shou spin off NEOW

[synthaphone]

ive been playing the beastieball demo + playtests, and the gameplay and story are both very fun, but i think the beautiful 2D animation on the beasties is what's really got me excited about this game. like look at this little guy's idle animation!!!!!

[caeslxys]

I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)

As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)

He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.

(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)

It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.

(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)

[p0th]

thinking about, despite everything, Garmadon still truly loved his son

[mareastrorum]

@triaelf9 Nick Marini mentioned your art in his Discord AMA!

[da-janela-lateral]

And You and I

[katyspersonal]

me before SoTE: Gehrman 🤝 Miquella on being seen as creeps and awful people by fandom over misinterpreting some bits!

me after SoTE: Gehrman 🤝 Miquella on not being able to accept the drastic change (mostly to the worse) of a person they held dear and latching onto their former, "nicer" version, attempting to resurrect that version even although the result is a bit of just a husk (.....AND being seen as creeps and awful people by fandom over misinterpreting some bits lololol)

_________

I guess they're doomed to be friends no matter what gfjhjgv At least with Gehrman's crafting skills, he can make him many pretty dresses

[blueskittlesart]

do you have any thoughts on zelda not staying as a dragon? me personally I like it and am very cool with it mostly because I think zelda should get to be happy forever (and because I'm smart enough to know she changed back because of recall and not some ambiguous power of love lmao) but a lot of people seem to dislike that it made the draconification inconsequential?

i think there's like. some valid concerns surrounding inconsequentiality/"curing" the physical problems characters have as a way of giving them a "happy ending" but I think those concerns don't necessarily apply to totk in the way people seem to be applying them, especially irt zelda's draconification and link's arm.

most of the time when the criticism of this "magic cure" trope is applied to media, it's because the trope is used as a cure-all to erase a character's suffering or trauma and make them "normal" again, and often ignores the character development or themes of the story in favor of giving the character a happy ending. I don't think that applies to totk, though, because the "curing" link and zelda experience is both within the realm of possibility given the worldbuilding present in the game (recall could easily have done it, as you mentioned) AND thematically consistent with the rest of the game. One of if not the most important central themes of totk is the idea of failure and second chances. we see a hyrule that has been given a second chance after link's initial failure with the calamity brought it to the brink of destruction. we see characters who were deeply unhappy and entrenched in the shame of their precalamity mistakes like purah and zelda become active, beloved members of their communities. we see the people of lurelin village take back and rebuild their destroyed home. we watch this kingdom and its people make an unprecedented comeback after a century of struggle and ruin.

Similarly, totk's gameplay is LINK's second chance, his comeback from the initial mistake of losing zelda, of specifically being unable to reach her with his injured hand when they fell. The consequences of that--the master sword's corruption, the loss of his arm, and zelda's draconification, are all supposed to SEEM irreversible, because that's how LINK initially sees them. he believes that he doomed both himself and zelda all because of that SINGLE moment in which he wasn't enough, a viewpoint which is obviously left over from the pressure he experienced to perform to an impossible standard of perfection pre-calamity. The story of totk is about deconstructing that belief and proving it wrong. the mistake he made caused harm, but it's never too late to repair things. he can fix the regional phenomena ganondorf causes and rebuild those communities. he can revitalize the master sword. he can GET ZELDA BACK, with his own arm, uninjured and able to reach her this time. no matter how impossible those things may initially seem, no matter the perceived finality of his mistakes and their consequences, there is always hope. there is always a second chance. no one person's single mistake can doom an entire kingdom for eternity. the fate of hyrule was NEVER resting on link's shoulders alone. he was never their final hope. there was always going to be an after. the whole POINT of the draconification and the loss of link's arm is that they AREN'T final. they ARE inconsequential, because they were born of one mistake and ONE MISTAKE IS NOT THE END ALL.